In the first half of 2010 the total number of the audience was slightly decreased, while the total sales amount was skyrocketed compared to the same period of last year. The total number of the audience from Jan. to Jun. this year was 69, 447, 438 and the total amount of sales turned out 547. 2 billion won in the period.

CJ Entertainment, the Korea's biggest investment/distribution company, takes a huge step to advance its position in the global marketplace. After establishing a strategic partnership with a major Hollywood production company, 1492 Pictures, in November 2009 and opening Korea's first joint corporation with Japan April this year, CJ Entertainment made a strategic partnership with the biggest Chinese private distributor, Polybona Films, in June to advance into the Chinese market.

KO-PRODUCTION IN PARIS 2010 was held as a section of Festival Paris Cinema for 5 days. Participating with a total of 8 films; 4 Korean films and 2 French films and 1 Czech Republic film and 1 Luxembourg film, they introduced their projects and discussed the development of their projects with 2 Korean mentors and 2 French mentors.

Asia's largest genre film festival, the Puchon International Fantastic Film Festival (PiFan), was this year headed by newly appointed festival director Young Bin Kim, who encouraged his staffers to make PiFan a “good host festival”. The 14th PiFan took place July 15 – 25 with its industry event, the 3rd Network of Asian Fantastic Films (NAFF), running parallel July 18 – 22 with Industry Screenings, the It Projects market, Fantastic Film School and NAFForum discussions.

In the history of cinema, taking material from other sources and employing it to make a film is not new. Unlike novel, painting and play, cinema has a relatively short history so that it has relied on other forms of art since the beginning. Nevertheless, the recent trend in the Korean film industry seems to be different from the past.

Korean films in the second half of 2010 are finally revealed both commercial and aesthetic challenges in diverse elements and genres. They include IM Kwon-taek, HONG Sangsoo, KIM Jee-woon, RYU Seung-wan, LEE Hai-young, and PARK Jeong-hoon; from great masters delivering introspection of life, sensible stylists wallowing genres, to surprising newcomers exploring colorful pleasure.

WON Bin had always played a younger brother or a son who stirs up one's protective instinct in Korean movies. His family in the film often got into trouble or caused conflicts to protect and defend him. Brother JANG Dong-kun in Tae-gukki became a war hero to save his younger brother WON Bin, and mother KIM Hae-ja from Mother had to fight to prove her son's innocence.

OKI'S MOVIE is HONG Sangsoo's eleventh feature film and might be a cinematic adventure repeating the theme of his own; difference and repetition. Of course, his body of works can be considered as parts of an immense world or structure made up of difference and repetition, and as such, OKI'S MOVIE surely belongs to this world.

Midnight FM 's director KIM Sang-man is a man of many talents. Since 1997 he has designed more than 30 movie posters including I’m a Cyborg, but That’s OK, Sympathy for Lady Vengeance and The Host , and worked as art director of Happy End and Joint Security Area/JSA . He was director for both art and music in Bloody Tie and directed his first feature film Girl Scout in 2008.

HANJI is a film that proves that the cinematic world of director IM Kwon-taek is still progressing and changing drastically. Known as “a story about obsessed people who are seeking high quality rice paper (hanji)”, this film contemplates the traditional values that are forgotten over the course of time.